For many years I have been following a trajectory that is set in motion by the last painting. A chronology driven by necessity, the obvious next step. The proportion of the piece is the initial imperative: space and it's containment, the front of the canvas and the encompassing color on the sides. Every part of the painting's side has an impact on it's surroundings. The color against the white canvas and that same color against the white wall, which becomes it's glowing hue, is at once hard-edged and diffused, ephemeral.
Each side has anywhere from twelve to twenty layers of flat monochromatic paint strokes, making an eighth of an inch to one quarter of an inch deep band around the white canvas. This band of color is a fluctuating line that tells us where the painting is and where we are in the space looking at it.
The paintings are tipped over to the right in order to hang vertically to the floor from the inside upper left corner to the inside lower right corner (what I call 'tip-to-tip") of each painting. This breaks away from the static architecturally referenced perspective that paintings hung at a ninety degree angle to the floor have. Depending on the height and width of the painting the angle will be different, giving each painting a unique pose, triggering movement as the canvas tips, finding it's still point and resting there.